Tainted Love
by Frawley
Summary: Drusilla returns to Sunnydale and gives Spike a terrifying gift, one that threatens to rip apart the lives of the Scoobies.
1. Teaser

Title: Tainted Love   
Author: Frawley   
Date: 15th January 2002 

Category: Script-format, Season Six standalone fic.   
Spoilers: Minor, everything up to "Bargaining" and "After Life", lets say to "All the Way" is fair game, though most of it was written prior to season six. 

Summary: Drusilla returns to Sunnydale and gives Spike a terrifying gift, one that threatens to rip apart the lives of the Scoobies. 

Comments: This is the third of three script-format fics I started in the Summer of 2001. The other two, Schism and Maleficium, I managed to "publish" before the sixth season premiere. Unfortunately, a lack of time saw Tainted Love sit unfinished until now. The other two fics seem a little AU at this point, but Tained Love might be seen as fitting in sometime between "After Life" and "Tabula Rasa", though it really has little to do with either of those - the mood of that period just seems best suited to this work. 

The ending B/S stuff in this might seem a little fluffy. Not my fault. Well only totally. 

Some numerology/prophecy stuff from the show has been included, specifically Faith's words to Buffy during their shared coma/mind trip in Graduation Day Part II. Which went roughly as follows: 

FAITH   
Miles to go   
Little Miss Muffet   
Counting down from 7-3-0 

I've played with things enough to suit my own ends, but the truth behind the riddle remains intact (couldn't really change that, now could I?). 

Disclaimer: Joss owns most of it, I lay claim to the scraps. FOX can sod off. 

* * *

**TAINTED LOVE - by Frawley**

* * *

**TEASER**

EXT. GRAVEYARD - NIGHT 

We open on SPIKE. Vamped up. He glances from side to side, with a deliberateness that could only mean he's hunting. Or being hunted. 

It's the latter. 

From the distance, the SNAPPING OF TWIGS. Footsteps. Spike is off in a flash - heading AWAY from the sound. 

TRACKING Spike as he runs. Not an all out panicked run, but purposeful, at top speed. He LEAPS up onto a headstone, bounds off, and keeps on going - all in a single motion. We follow him as he twists, turns, and winds his way through the graveyard in this fashion - cutting a corner, hurdling another tombstone. 

After a minute, he comes to a rest in the doorway to his crypt. 

ON SPIKE - glancing from side to side again. Satisfied that all is well - or, at least, that he's bought some time - he heads inside. 

INT. SPIKE'S CRYPT - NIGHT - CONTINUING 

Once inside, the vampire slams the door, and changes back to his HUMAN FACE. With grim determination (cliché, cliché), he heads for the trap door to the tomb below. Crouches down to open it, then - THWUMP. The sound of someone landing from a jump. Spike WHIRLS around. His coat splays out like a fan as he does this. Cool. 

SWING AROUND to his casket. There, in a crouching stance, is BUFFY. Looking like she's ready to spring. 

BUFFY   
(admonishing)   
Spike… you weren't thinking   
of hightailing it out of here   
through the sewers, were you? 

OFF SPIKE who has no reaction. Poker face all the way. 

BUFFY   
That would be… most unfortunate.   
We only just started the game. 

Spike finally has a reaction - looks at her as if he's lost her for good. 

ANGLE ON Buffy, who MORPHS INTO A VAMPIRE FACE. Fangs gleaming. Something is seriously wrong here. This is NOT a dream sequence, not some perverted fantasy of Spike's. 

BUFFY   
And I want to play. 

CLOSE ON VAMPIRE BUFFY. 

BLACK OUT 

**END OF TEASER**

_The remaining acts will be posted tommorow..._


	2. Act One

* * *

_** Author's Note: This act (and part of the second) is mostly setting up what's to come... it's heavy on dialog and less on action.**_

**ACT ONE**

INT. XANDER'S APARTMENT – DAY 

A heavy pounding on the door awakens XANDER, hitherto lying in bed with ANYA. The clock on the night table flashes 7:30 in bold RED characters, we get just a glimpse of it. Enough sun makes its way into the bedroom, however, to know that morning has just arrived. Xander is none too quick getting to the door as a result. We follow him as he pulls on a SHIRT from a pile next to the bed (a shirt that clashes horribly with his plaid pajama bottoms) and heads into the next room. He STUMBLES over a pant leg that's just a little too long. Grunts. 

We then hang back behind for a moment, catching the early morning rays pouring in the window. Swing around the night table. 

ANGLE ON the back of the table. The clock, still flashing 7:30 (if we could see it), is UNPLUGGED. 

ARC around to catch the clock one last time. 

CUT TO: 

XANDER. Having regained his footing after the tussle with the pant leg. 

TRACKING XANDER as he heads to the door. Our caller is still pounding away, and as we get closer we can hear SPIKE'S muffled voice coming from outside. 

SPIKE   
(from behind the closed door)   
Open the bloody door already   
bricklayer. I know you're in there.   
(raising his voice)   
I can smell you! 

ON THE DOOR which Xander opens to reveal Spike. 

XANDER   
They say my deodorant is strong enough- 

Spike cuts him off by walking into the apartment. Or tries to. He HITS the invisible barrier that keeps out the uninvited – vampires such as himself. BOUNCES BACK. 

SPIKE   
Rot!   
'Vite me in. 

XANDER   
Why should I?   
Shouldn't you be off sleeping   
somewhere? Like, your crypt?   
You know it's daytime, right?   
Early early daytime, but sunny   
nonetheless. 

ANYA   
(O.S.)   
Xander? Who is it?   
Come back to bed. 

SPIKE   
Look bricks for brains, I'm   
not here making a social call.   
I've got a problem. 

XANDER   
What makes you think I-   
Wait. When you say "I've"   
got a problem, you mean   
we, right? 

SPIKE   
You're catching on.   
Cement powder in your gray matter   
hasn't dried just yet then. 

XANDER   
Insults will get you nowhere. 

Spike glares. 

XANDER   
(concedes defeat)   
Fine. Come in.   
Just let me get dressed. 

Spike strides in as Xander turns back towards his bedroom – only turns back to holler at his "guest". 

XANDER   
Wipe your feet! 

Spike rolls his eyes, and tries to speak, but Xander closes the bedroom door. 

SPIKE   
(to himself)   
This is going to be trying. 

CUT TO: 

INT. XANDER'S APARTMENT – BEDROOM – DAY 

Slamming door. We're inside Xander's room. Close on Xander, bordered by the doorframe. 

XANDER   
This is going to be so trying. 

INT. XANDER'S APARTMENT – DAY 

Maybe five later. 

SPIKE paces impatiently while ANYA goes about making coffee. Enter XANDER from the bedroom, now fully dressed – casual clothes. Anya pours two mugs, which she promptly delivers to the men – both of whom stutter gratitude while drinking until she reveals her much nicer cappuccino. Nothing is exactly spoken in these first few seconds – just gestures and grunts. 

Spike reaches for his smokes, but Xander cuts him off. 

XANDER   
Uh-uh. 

The vampire looks rather displeased, but the package of cigarettes disappears back into his coat pocket. Does he ever take that jacket off? 

SPIKE   
(sly)   
Hope I didn't interrupt   
your morning workout. 

Finally, speech! 

ANYA   
No. We were far to tired   
from all the sex to exercise. 

Xander groans, Spike lets loose a mischievous smile. 

SPIKE   
I see. I keep forgetting   
modesty tisn't one of your   
virtues. 

XANDER   
You've drank my coffee   
and embarrassed me before   
eight a.m. – how about letting   
us in on what our "problem"   
is? 

The mood changes as Spike struggles to find a way to explain. 

SPIKE   
It's Buffy.   
You know…   
She's a… well   
she's a vamp- 

Gets cut off. 

XANDER   
Slayer. Old news. Now what?   
Some nasty demon out to get her?   
Something you think she   
can't handle, so we should   
lend a hand? Or is this   
some pathetic ploy to   
win her attention? 

SPIKE   
No, you bloody git.   
Buffy's a vampire.   
Undead. Fangs. Sorta   
like me, only more   
BUFFY. 

XANDER'S P.O.V. as he lets the reality of this sink in. Anya is RUNNING WATER in the kitchen, but the sound is DISTORTED - MUTED. As are the voices of Spike and Anya. 

SPIKE   
I didn't turn her. 

CRASH – Anya has dropped a cup. The crash is muffled as well. 

ANYA   
I'm sorry, did you say- 

Anya is interrupted by Xander, who THROWS himself at Spike. The sound comes back to normal in an instant, and we're angling on them. On the floor, Xander on top of Spike, one hand at his throat, the other hitting him – HARD. 

XANDER   
(screaming)   
What the hell did you do?   
How could you?   
How could you be that selfish?   
You're through. Done. Staked.   
DUST! 

SPIKE   
Lay off before you hurt yourself. 

Xander hits him again. 

XANDER   
I'll lay off when- 

Anya comes to the rescue, pulling Xander off the vampire. 

SPIKE   
I said I didn't turn her. 

ON XANDER, hair in his eyes, face a mask of pain. This is one of those conversations he never wanted to have. 

XANDER   
This. This is how you tell   
me Buffy's dead. Again. My best friend,   
(off Anya, who frowns but says nothing)   
our friend. I- 

SPIKE   
I said she was a vampire.I didn't say she was dead. 

ANYA   
(surprisingly subdued)   
It's the same thing. 

SPIKE   
Right. Maybe. Not exactly. 

XANDER   
Huh? 

SPIKE   
I'll 'splain later. 

XANDER   
Later? Explain now bleach boy!   
(calms himself)   
You're taking this well. 

The words are said with a hint of disgust. Spike gets dark in his reply. D-A-R-K. 

SPIKE   
I spent the night trying not   
to get killed by the woman I love.   
Believe me boy, I'm not taking   
it well. 

ANYA   
You saw her? She…   
assaulted you? 

SPIKE   
Buffy as a vampire   
is not a pretty picture. And whatever   
you think, it's not something I ever   
wanted.   
(pauses, maybe he had, just a little,   
but these results are not to his liking)   
You change, when you die.   
What you loved – means nothing,   
necessarily. Depends on the person.   
Ask Angelus 'bout that. He slaughtered   
his 'ntire family. 

There's a moment where no one knows what to say, so he continues. 

SPIKE   
Buffy… that's her, but it's not.   
You know what the Watcher tells   
you, what the Slayer tells you – that   
when your friends are turned, to forget   
them, because it's not them, it's the demon?   
That's only half true. They're still in there.   
The demon is like a disease. Most of   
us – most of us accept it. Willingly.   
We embrace it. The power, it's more   
sensual than you can imagine. 

Xander can barely look up. His head is in his hands. Anya is deathly quiet. 

SPIKE   
Buffy as a vampire…   
She's powerful. And has all her tricks.   
And all her memories. But she's infected. 

XANDER   
And? DAMNIT! 

Xander HURLS a coffee cup across the room, where it shatters. It's not a good day for cups in the Harris household. At this Spike stands, crosses to Xander, and HAULS him up by his collar. Xander's FEET DANGLE inches from the floor. The vampire stares straight at him, finishing his speech. 

SPIKE   
And I killed two Slayers before   
falling in love with a third.   
Hell'll freeze over before I loose   
her like this. She's come back twice,   
that's gotta mean something.   
Someone wants her ticking, cuz she's   
got a task at hand. You want her alive.   
I want her... at peace. And she isn't   
At peace like this.   
So we… do whatever it is you   
hero types do. 

Lets Xander down to the floor – to his credit, gently. 

XANDER   
You think we can bring her back? 

SPIKE   
If not, there's gonna be hell to pay.   
But yeah. There's something... 

He doesn't quite specify whether said "hell to pay" will be on his behalf – or Buffy's. 

INT. SPIKE'S CRYPT – DAY 

Not that anyone can tell. It's dark, as per usual. 

ANGLE on the casket. There are several large STONES piled atop it. 

We ZOOM IN towards the CASKET, then actually move THROUGH the stone slab and wind up INSIDE – where we see BUFFY, resting peacefully. TOO peacefully – she doesn't breathe. 

ECU ON BUFFY – Her eyes open. 

INT. DORM ROOM – DAY 

Open on WILLOW and TARA. Willow is sobbing on the bed. Tara is comforting her, but is obviously not too stable herself. PAN to reveal ANYA and SPIKE – the latter keeps glancing at the window, but he can't check it – slight sunlight problem and all. 

TARA   
Someone should tell Giles. 

ANYA   
Maybe Dawn should?   
Once Xander gets her… maybe   
Giles should hear it from her.   
It definitely shouldn't be Spike. 

SPIKE   
Thanks. 

ANYA   
I just mean… 

SPIKE   
(curt)   
I get it. 

WILLOW   
(looks up, tearful)   
We can't… I mean, he won't   
be back for two days. He went on   
some… Watcher retreat deal.   
Meditation, visions, all that.   
No phones. He was going to   
call as soon as it's done but…   
(pause)   
This is too much.   
We just got her back. This is…   
(re: Spike)   
You're sure. Sure it was her   
and not some doppelganger? 

SPIKE   
Why would a double   
bother transforming itself   
into a vampire? Point o'   
a double is to be identical.   
They don't do improv. 

WILLOW   
(muted)   
You'd be surprised. 

TARA   
It's her…   
What do we do?   
You said we can get   
her back? 

SPIKE   
I'll get to that.   
It's complicated.   
Whatever it is about Buffy,   
death keeps casting her back… 

WILLOW   
That can't happen forever. 

SPIKE   
No, it can't.   
Everyone's got a final time.   
Even me. Immortality is a lie.   
But someone a ways up the food   
chain has a greater plan for her,   
one that's not come to fruition   
just yet. Between us and that…   
It's not supposed to end like this. 

TARA   
What's she…   
How is she?   
From what you saw… 

SPIKE   
Whatever made   
her the Slayer… her will,   
her power… as a Vampire…   
it makes me look like   
a bumblin' amateur. 

TARA   
God… 

SPIKE   
I barely escaped her.   
Wound up locking her in   
my casket. Won't hold   
her long, but she needs someplace   
to sleep anyhow. New vamps are   
two things – hungry, and sleepy. 

WILLOW   
Do you have any idea what it would   
do to her – her her – if she fed   
on someone? Even if we can   
change her back somehow… 

ANYA   
How did this happen? Who? 

TARA   
Oh my god, Dawn! 

ANYA   
I really don't think she had anything   
to do with it. 

WILLOW   
No. Dawn. 

She's right. 

CUT TO the entrance to the room, and there is DAWN, with XANDER behind her. 

DAWN   
Guys?   
What's up?   
Why the cry-fest?   
Did something- 

XANDER   
(solemn)   
I didn't know how to tell her. 

INT. DORM ROOM – DAY 

Moments later. 

Dawn is being consoled by Willow, Anya is with Tara, Spike's still staring out the window. 

ANYA   
Will she be ok? 

XANDER   
An! 

ANYA   
I just… 

DAWN   
I'll be fine. 

Surprisingly steadfast for someone whose sister was just vamped. 

TARA   
Dawnie… 

DAWN   
I get the drill.   
I just didn't...   
(now breaking down)   
It's too soon. 

She isn't as ok as she makes out, that much is clear. 

SPIKE   
No chance in hell we're   
quitting on her. 

DAWN   
No!   
We can't... do that to   
her again. 

SPIKE   
This isn't the same Dawn.   
There's a lot all of you   
don't know...   
We'll fix this, or I'll rip   
Drusilla's disturbed head   
from her shoulders. 

WILLOW   
Drusilla? 

XANDER   
I think it's time you   
got to the answers part.   
I heard something about   
Buffy being dead, but not exactly.   
And you said you'd explain later.   
So splain, Lucy, splain. 

Spike crosses the room, away from the window. Sits, draws up his knees. Starts talking, and when he stops, a few things become clear. 

SPIKE   
Drusilla… for all her   
bitties, chattering away   
in that head of hers… she   
really does love me. You get   
that? Don't matter that I don't   
exactly love her anymore.   
She loves me, would   
do anything for me. So she did.   
She gave me a gift… out of love.   
Or what she thought was love.   
I'm not even sure she knows   
anymore. In her mind though…   
this is what I wanted. 

INT. SPIKE'S CRYPT – DAY 

We open on SPIKE'S CASKET – lid intact. Held down as before by some hefty looking rocks. But not for long. It suddenly goes FLYING off to one side, stones and all, then up pops VAMPIRE BUFFY. 

It's still day however, and she approaches the door to the crypt cautiously. She pushes it open a crack, and puts her hand into the light. Pulls it back lightening quick. Sticks it out again, pulls back. Again – and holds it there. Nothing. 

EXT. SPIKE'S CRYPT – DAY – CONTINUING 

ANGLE ON VAMPIRE BUFFY – from above. 

We see Buffy from above, as she steps into the light – and morphs into her vampire face. Looks up at the sun – smiles – and heads off. 

BLACK OUT 

**END OF ACT ONE**


	3. Act Two

* * *

**ACT TWO**

INT. WAREHOUSE – NIGHT 

Sitting cross-legged atop a dusty looking CRATE is DRUSILLA – garbed in an eloquent looking gown of red and black silk. Ever the temptress, if a bit dark for most tastes. She's in a perfect state of calm. A trance state. 

Aside from the crate, and Dru, the warehouse is a vast open space, completely empty. The lone light in the center of the ceiling creates a ring in the middle of the room, encircling Drusilla. 

CLOSE ON DRUSILLA – eyes closed, head tilted slightly up. Her eyes flutter open, not in an instant like Buffy earlier, but instead as if exiting a dreamy, peaceful sleep. 

SWING AROUND to reveal Spike, lit cigarette between his lips, coming towards his sire. 

SPIKE   
What do you want, Dru?   
Slayer tisn't gonna be   
at all pleased, me being   
here with you. Seems there   
were some misgivings last   
you came to town. 

DRUSILLA   
She's all around you, still.   
Floats about. I can see it – she's   
infected you. 

SPIKE   
If this is the preamble   
for a long speech about   
how I'm wrong for her   
and can't ever have   
her – save it. I've heard it   
all before. Doesn't change   
what I feel. 

DRUSILLA   
But it does. Love changes   
all. You love her, and   
you change. Not feeding, not even   
picking off the old and the lame.   
Scavenging… Scavenger, became   
William the Bloody, killer of two   
Slayers, who always took the   
best prey, the ones in their prime.   
You killed the lovely. The beautiful.   
The strong. Now you feed on pigs   
blood left over from the human's   
lunch. 

She looks about. Licks her lips. 

DRUSILLA   
All because of the one girl   
you couldn't kill. 

SPIKE   
I get the point. You think   
it's not real, it's some obsession   
cuz she lasted longer than   
the others. I don't care. 

DRUSILLA   
No. You don't.   
It terrifies me, that. It tears   
at me. Splits the skin. I feel   
you when I sleep. You're content.   
And it hurts me. The   
urge is barely even there.   
The cattle you carry on with,   
they think you're still a killer   
beneath the surface,   
but there's no lust for it.   
I can feel it.   
Or rather, can't feel it. 

Drusilla looks up. Lifts herself down from the crate. 

SPIKE   
Make no mistake, Dru – I'm still a killer.   
Just not at random. 

DRUSILLA   
Harsh words for your love. 

Spike doesn't respond. Drusilla, for her part, despite having said it, knows it isn't true – she's no longer his love. 

SPIKE   
What's in the box, Pet?   
Present? 

DRUSILLA   
Most lovely beautiful gift.   
To hold and to cherish.   
For all eternity.   
For you. 

She TWIRLS around like a music box ballerina and smiles that insane grin of hers. 

DRUSILLA   
Love.   
I thought I couldn't   
help you. But I can love you   
still, even if you won't love me.   
Love changes all…   
and now love is changed. 

She MORPHS with these last words, THROWS the lid off the crate, and knocks out one side. This causes the other sides of the box to FALL OUTWARDS, revealing the contents. 

BUFFY, bound hand and foot, unconscious. 

DRUSILLA   
Forever yours.   
My child. You lover.   
Not like us. New. Better.   
Not a creature   
of darkness. Baptized in   
the blood of the Cynaid,   
anointed before being turned. 

SPIKE   
What are you rambling on about?   
What the hell did you do? 

DRUSILLA   
I made a new species.   
And gave her to you. 

Spike rushes to the unconscious Buffy's side, and as he does Drusilla steps back into the shadows. 

DRUSILLA   
(O.S.)   
Love changes all… 

It comes out as a whisper, she's already fleeing into the night, knowing full well that Spike will not take kindly to her gift at first sight. 

SPIKE   
(kneeling over the slayer)   
Buffy? Oh god. 

CLOSE ON BUFFY. 

INT. DORM ROOM – DAY 

Back to the present. We're still in the dorm room, and everyone remains huddled together. SPIKE continues to rest on the floor, knees up, and – no longer able to fight the urge – sparks up a cigarette. Hauls deep. The rest – WILLOW, TARA, DAWN, XANDER, ANYA – are in or around the bed. 

XANDER   
So your twisted ex-girlfriend   
did this? Buffy is turned   
because you have poor relationship   
skills? 

SPIKE   
Oh, like you never had one   
act crazy? 

ANYA   
He means Cordellia, right?   
Now she was a crazy bitch!   
And so obsessed with mon-   
(stops before betraying her own obsession)   
Clothes! Obsessed with clothes. 

We won't even mention Inca Mummy Girl. 

EXT. PARK – DAY 

ON BUFFY – running through the park – it's really only a jog though. There's a bounce in her step and newfound glee at her ability to be in the sun. She's wearing her normal, human face. 

Coming towards her, a jogger. They both stop. 

JOGGER   
Say, aren't you…?   
We went to high school   
together. You ahh…   
you kinda saved my life,   
that time those gangbangers   
on PCB crashed the school… 

ON BUFFY, who makes no reply. 

ANGLE on them both, and our healthy friend continues to stumble his way along – through the conversation that is. 

JOGGER   
Would you ahh…   
Would you want to   
grab a bite to eat?   
You know, we could catch up   
on things? I know we ran   
in different crowds and all,   
but it could be, ahh… 

BUFFY   
(monotone)   
I'm meeting someone   
for lunch.   
(suddenly cheerful)   
Maybe some other time? 

INT. DORM ROOM – DAY - CONTINUING 

Right where we left off in the conversation. 

WILLOW   
I don't get it – Buffy's a new   
species? Of Vampire? 

SPIKE   
Dru did something.   
Something that made her different.   
Maybe that can be undone.   
It's plain she didn't just vamp her.   
You've got books – look it up.   
Blood of Cynaid. What, just   
'cause the Watcher isn't here   
you can't research? 

With a guilty look Tara retreats to the bookshelf. 

ANYA   
I don't think Xander's ex's even   
compare to yours you know. 

XANDER   
An… 

ANYA   
I mean, ok Cordellia was a little   
nuts, but this Drusilla? And Harmony?   
Harmony, for the love of God, what   
was that about. 

XANDER   
(dry)   
Convenience. 

SPIKE   
Point being? I'm a hundred   
and some bloody odd years   
old. You think I'm not old   
enough for a little casual sex? 

XANDER   
But Harmony!? 

SPIKE   
Point taken. It's just she- 

DAWN   
Hey! Child in the room!   
For once, I don't want to   
have to hear this. 

TARA   
(from the bookshelf)   
We need to be getting back   
to the point… 

XANDER   
How about putting a point in   
Drusilla? 

OFF some startled reactions. 

XANDER   
A stake! 

SPIKE   
Bloody hell. 

XANDER   
Still carrying a flame for her?   
After this! 

SPIKE   
It's not easy.   
We were together longer   
than you-   
(re: Anya)   
longer than most of   
you have been alive.   
'Sides, we might need   
her alive to fix this. 

WILLOW   
He's right about that. 

TARA   
(looking up from the text she's   
scanning through)   
This is too weird. 

ANYA   
Find a reversal spell? 

TARA   
I meant – the situation. 

WILLOW   
If there is such a thing as "too   
weird" for Sunnydale. We're not   
exactly the poster child for normality.   
I just keep… thinking, if Giles were here,   
what would he say? What would he say   
to do? Maybe we should try again?   
To reach him… 

TARA   
Honey, we can't.   
He's exus communicato   
for the next few days. Any   
time we waste... 

ON Willow. She pouts. 

SPIKE   
Wanna know what ol' Rupert would   
do? First, he'd mourn Buffy. Then,   
he'd hunker down all determined-like   
and find a way to get her back. Which is   
exactly what we're going to do.   
The Watcher isn't here, we are. It's   
time you stepped up, Red.   
(beat)   
It's time we all did.   
Magic's got consequences,   
and I'm presuming this play   
Dru's running is fueled by magic.   
And the bonus of that, kiddies,   
is that what's done can usually be   
undone, so far as the black arts go. 

TARA   
(distracted)   
It makes sense. 

SPIKE   
See? One of you knows   
common sense when you hear   
it. 

TARA   
No. I mean yes.   
I mean huh?   
(quizzical look)   
I found it. What Drusilla   
did. It's in this text Giles   
lent to me. I can't   
believe I found it…   
Giles always spent hours   
at this research stuff.   
I guess some luck's with us. 

XANDER   
So what's lady luck got to say   
about getting Buffy back   
to her usual peaches, slaying,   
and cream self? 

TARA   
Drusilla baptized her   
in the blood of the Cynaid… 

ANYA   
There's that word again. 

TARA   
It's a demon nearly as old   
as the Earth itself. When   
the uh… demon inhabitants of   
the planet left this plane, it   
was one of the few that stayed   
behind.   
(pause, then confused)   
They left? 

XANDER   
So how come it didn't skidaddle   
with the rest of the nasties? 

TARA   
The Cynaid is umm…   
described as being the size of   
a house… embedded in the rock   
of the pit of… Alsinewa?   
(stumbles over that name, then continues)   
In South Africa. It's immobile,   
but is fed by an ancient sect of   
followers… who sacrifice to it   
every second child born to their tribe. 

SPIKE   
My Dru does get around. 

ANYA   
So it's a pure demon. 

WILLOW   
(understanding)   
Right. 

TARA   
Pure demon? 

ANYA   
Must we go over this again? 

Off Tara's confused stare. 

ANYA   
Oh, that's right. You missed the mayor's   
ascension. 

TARA   
I heard it wasn't much fun. 

WILLOW   
There was chaos. 

ANYA   
And punch! But mostly   
chaos. Anyhow, most   
demons left this plane eons ago.   
like the book says. Those here now   
are impure – tainted by humanity,   
like vampires. 

The ex-demon nods towards Spike. 

ANYA   
Pure demons – the ones that   
left – they're much bigger.   
And more powerful.   
Apparently this Cynaid   
was left behind, stuck in   
that pit of what's it called   
for centuries… I wonder   
how many others… 

SPIKE   
I don't. So move it along. 

Tara goes back into the text. Flips a page. 

TARA   
According to this entry,   
the Cynaid is impervious   
to mortal wounds, but bleeds as   
the result of intense indigestion.   
(under her breath)   
Too many sacrifices…   
(back to normal tone)   
It's blood conveys   
this impunity to the   
deceased… the sect that   
worships the demon uses   
the blood on zombie   
troops used in tribal   
warfare. 

DAWN   
And Drusilla used it on Buffy… making   
her what, immortal? Aren't all vampires   
that? 

SPIKE   
You know the routine, bit.   
Stakes, sunlight, decapitation – there's   
a surprisingly numerous amount of   
ways to kill an immortal.   
(stops, realizes the implication)   
Dru was right. A new species. 

XANDER   
A new, hard to kill species. 

ANYA   
Why didn't Drusilla just use it on herself?   
Become… you know, more immortal   
than she already was. 

SPIKE   
She was never so obvious. 

TARA   
Wouldn't have worked.   
The recipient of the blood   
must be newly dead. 

WILLOW   
All very informative.   
But how do we get her back? 

TARA   
An antidote exists… the bile   
of the beast. It has to be mixed...   
with a part of the person   
exposed to the blood. Hair, skin, their   
saliva... 

XANDER   
More fun with fluids. 

DAWN   
This is too gross.   
Like a bad horror flick,   
with less popcorn and   
convoluted death scenes. 

TARA   
The antidote will undo the effects   
of the blood… and   
can also restore life   
to the deceased. But   
again, it only   
works on the recently   
dead.   
(pauses)   
It doesn't say how recently. 

ANYA   
Question.   
(beat)   
How do we get this   
antidote? I mean,   
Africa is a long way off,   
and I doubt that book gives   
directions to the pit of   
Alsa-whatever. 

TARA   
Alsinewa.   
And actually, there's a map.   
Very detailed. 

SPIKE   
But it won't come to that. 

TARA   
I wouldn't think so.   
Will Dru...? 

Tara seems to have more of an understanding of the entire situation than the rest. Relationships, both familial and romantic – she sees deep into them. 

SPIKE   
Dru will have it.   
It's her game.   
(not quite hostile – almost fondly)   
Twisted bitch.   
(back to normal, with a shake of the head)   
Make me come crawling back.   
Or just make me suffer.   
But she's not one to dispose of   
something like this. She'll have it. As   
insurance. Keep me in line   
and playin' nice. 

As he speaks he is fiddling in his coat pocket with something. Very discretely. No, it's nothing dirty. Get out of the gutter. 

XANDER   
Just where are we   
supposed to get a part of   
Buffy? We what, ask her   
real nice to borrow some spit? 

TARA   
Maybe Dawn... could find an   
old hairbrush or something at home? 

Spike is now out of the pocket – and can be seen to be fiddling with a strand of blond hair. He's completely delicate with it. Dawn takes notice. 

DAWN   
Is that…? 

Mixed reactions from the group. Willow frowns, slightly. Xander looks disgusted. Anya and Tara look… awkward. Dawn looks curious, and surprisingly ok with it. 

XANDER   
(groans)   
Oh god. That's disturbing. 

SPIKE   
What? Like it's that much   
of a crime? Get off it. I just   
happen to have a strand of two   
of her hair tucked away. In   
case… well in case of something   
like this. 

DAWN   
(disbelieving)   
In case we need Buffy's hair in a death   
or life situation? 

SPIKE   
It's nothing evil. 

XANDER   
Maybe we just see the monster   
in you. 

DAWN   
I don't- 

She comes to his defense, but the vampire cuts her off to make his own stand. 

SPIKE   
Yeh, well, there's more to   
it than that. 

XANDER   
How? Everything you do,   
you do out of love for Buffy.   
because you're in love with Buffy.   
That doesn't make you a better   
person. It doesn't make you   
a person. You come off   
looking like more of a psycho. 

This is so not about the hair. 

SPIKE   
I can think of far worse reasons   
to do things.   
Love so bad in the end? 

XANDER   
Look where it got Drusilla. 

SPIKE   
Drusilla's disturbed. The rest   
of you lot – humanity – greed,   
envy, you pawn these off on society   
every day with nary a second thought.   
(girlish voice)   
"Oh, that's pretty, I want it."   
(normal voice, in a bit of a rant)   
so I'll go work, build something,   
teach someone, help someone,   
but in the end it's still about   
what a bloke wants. 

XANDER   
It's honest. 

SPIKE   
Honest? It's the biggest scam of all.   
It's a bloody game of charades.   
A bad one. Most of you are selfish   
to the core. A few of you overcome   
it – what then. Death and dirt. At least I'm   
honest about my motivation. I want   
something, I take it. I love a girl… 

Trails off. 

ON DAWN. She moves to the window Spike was staring out earlier. 

DAWN   
Quit it already! None   
of this is helping get   
Buffy back. Whatever   
the reasons, that's what   
we all want, right? 

WILLOW   
Dawn, it could be dangerous,   
I don't think it's a great idea if- 

DAWN   
No! You are not cutting   
me out of this. She's my sister.   
My blood. She died for me. I don't care   
how dangerous it is – I'm part of this. 

XANDER   
Alright. We can't argue that. 

DAWN   
I just want to get Buffy   
back to normal. A hard life   
is better than what she is   
now... 

ANGLE ON Dawn, who looks to Spike, realizing the implications of what she's said. But when we see Spike, he just gives her a look of understanding. 

SMASH CUT TO: 

The window. CRASH. From behind DAWN, it SHATTERS. We see VAMPIRE BUFFY, decked out with fangs and bumpy forehead. She's leaning in (torso up) and grabs a hold of Dawn, who yells. 

DAWN   
(pleading)   
Buffy… 

ON BUFFY 

BUFFY   
Who says I want to be normal? 

Spike charges the window, hits the sunlight spilling in, and falls back. 

Xander makes a move, but we focus on Buffy, who has a deadly grip on her younger sister's neck. There's no need for anyone to say a word – they all realize the cost of making a move at this point. Xander freezes. Buffy then retreats, pulling Dawn out the window with her. We don't see how Buffy manages to drop safely to the ground, sister in hand, but it's assumed that she does. All this has taken place in a matter of moments. The impact will be felt for much longer. 

ON THE SHATTERED WINDOW for our final shot. The curtains blow out into the wind. 

BLACK OUT 

**END OF ACT TWO**


	4. Act Three

* * *

**ACT THREE**

EXT. BURNED OUT BUILDING – NIGHT 

It's raining, just short of heavy. 

Set against an abandoned gas station alongside a deserted stretch of road on the outskirts of Sunnydale, the "F" of the storefront sign – "Fill N' Fly" – hangs awkwardly at an angle, looking as if it will fall at any minute. The store itself – former store, to be exact, for it's now charred just this side of Cajun fried – is just as ready to drop. The windows are boarded with sheets of plywood, but scorching can be seen across the front of the building. One side of the roof has collapsed inwards, the shingles surrounding this carnage have curled from their past duel with flame and heat. 

A strategically placed warning sign – DANGER – KEEP OUT – lies in the dust next to the gravel driveway, cordoned off by a CHAIN strung across the entrance, attached to two METAL POSTS anchored in CEMENT BLOCKS. This is a wide, all encompassing shot, and is interrupted only by the REV OF A CAR ENGINE. 

SWING AROUND to see the aforementioned deserted stretch of road – no longer deserted. While the road carries on into the night until it disappears into the darkness (cliché, cliché, again), what can be seen are the HEADLIGHTS OF A CAR. They SWERVE across one lane to the next in an erratic fashion until the driver regains control and holds down a reasonably straight line – before gunning it up to the driveway, turning on a dime, and skidding to a stop – SNAPPING THE CHAIN and toppling one of the posts. 

ANGLE on the car. A beat-up late 80s model. Two door. Maroon. Canvas top – maybe a Monte Carlo. 

BUFFY   
(O.S.)   
Everybody out of the car! 

She's pretty cheerful. 

ON THE CAR, still, as the driver's side door SWINGS OPEN with her words. Only, instead of Buffy or Dawn exiting, a man – lets call him Fred – exits. Well, not so much exits as falls out the door sideways and slumps to the ground in a heap. Fred is very obviously DEAD. One foot remains stuck in the car while the rest of him rests in the gravel, creating a soon-to-be popular meeting place for maggots and flies. 

ARC AROUND the back of the car – making a half-circle – and here we arrive just as the passenger side door swings open. A TERRIFIED DAWN exits the car, then the seat is KICKED forward with a SNAP that breaks its lock and makes room for BUFFY to exit in a smooth motion after Dawn. 

BUFFY   
You know, niblet, it's   
about time this gal learned   
to drive. I mean, it's not   
like Sunnydale has an unlimited   
supply of chauffeurs. 

The word "niblet" comes out of Vampire Buffy like sacrilege. After the chauffeur comment, she considers Fred on the opposite side of the car. We see her actually tilt her neck to get a look at him. 

BUFFY   
What am I saying.   
It does! 

Self-satisfied Vampire Buffy. Silence. Then: 

DAWN   
You killed him. 

Dawn's starting to see more of the big picture. Vampire's aren't romance and tortured souls and immortal love – they're mostly dirt and blood and death. 

BUFFY   
Well duh. Fun wasn't it?   
Snapping his neck as   
he took the turn – classic, nay?   
I bet he thought he'd   
make it home. See his   
wife, tell her some frightening   
story about the psycho   
hitch-hiker he picked up, get an   
admonishing finger waved at him,   
then have some crazy make-up-   
What? 

DAWN   
You… killed him. 

Shuttle Reality, we have touch-down. 

BUFFY   
Repeato girl.   
Least I didn't drain him.   
But that would spoil dinner. 

DAWN   
That makes it much better.   
Really. 

Not really. 

BUFFY   
Punishing these fools is a lot   
More fun than protecting them   
all the time. Now.   
(considers her sister)   
Come on. Inside.   
You'll catch your death   
out here. 

Buffy pulls her by the arm towards the charred remains of the building. We track them for a few steps, till just past the car, then PAN to the other side of the car and PULL BACK, where our final shot of the scene is once again poor old FRED – one leg still stuck in the car, the rest of him spilt outside like a doll tossed aside by a bored child. 

INT. DORM ROOM – NIGHT 

Open on the witches. Worried witches. WILLOW looks distraught – not all tears as before, but seriously worried. TARA, the less expressive partner, is nonetheless running a close second. 

TARA   
It's starting to rain. 

She's looking at the SMASHED WINDOW. They've tied the blinds down, but they still flap, and it's still open – no time for a replacement pane of glass now. 

The fretting period is interrupted by ANYA, who enters the room with an armful of vending machine SANDWICHES and SODA CANS. 

ANYA   
I come bearing foodstuffs.   
Crisis always makes people hungry.   
And we must be well fed, to deal   
with catastrophe. 

Tara hesitantly takes a sandwich, not really in any state of mind to eat, not wishing to insult Anya. 

TARA   
Umm… thanks. 

WILLOW   
Could you drop words   
like "crisis" and   
"catastrophe" from   
the vocab? Please? 

ANYA   
Well that's what this is,   
isn't it? I've been   
around long enough to   
know crisis when I see   
it. And I'm seeing it. 

Willow opens her mouth. Closes it. Opens it again. Thinks better of it. Look, a Willow-fish. Guppy-like mouth-motions aside, however, Anya's got a point, and this isn't the time to school her in the ways of the mortal world. 

WILLOW   
Should we be panicking yet?   
Even mildly? They should   
have been back   
hours ago. 

ANYA   
Panicking isn't such a great   
term either… 

TARA   
They only left an hour ago,   
sweetie. And you   
know we couldn't   
go with them. 

WILLOW   
Feels longer.   
And why can't we go after   
Buffy? Explain that to me   
again. 

TARA   
Because this spell is our   
best chance to find her.   
She's the Slayer. We can't   
hope to track her, Will – she's   
way too stealthy and super-powery   
for that to fly. 

ANYA   
And we'll be doing the spell   
when? 

TARA   
As soon as the   
hogwart is a precise   
102 degrees. 

DING. In the background, a MICROWAVE OVEN CHIMES. 

INT. WAREHOUSE – NIGHT 

The same warehouse in which Drusilla presented Spike with his "gift". Open from above – well above, a shot down from the rafters. The broken, man (or woman) sized CRATE still lies on the floor. We see XANDER and SPIKE enter the scene from directly above them. Both are watching everything and anything, glancing from side to side, but really, there isn't much space for anyone – or anything – to hide. 

P.O.V. from behind Spike and Xander, who stand alongside one another. In the space between them, we see the broken crate. Nothing else. The warehouse is empty, as far as contents are concerned. 

This might also be the part of the script to insert a trendy "schmuck bait" reference, but is there really any need? 

SPIKE   
(hollers)   
Dru!   
Show yourself. 

XANDER   
(hollering as well)   
Come out, come out,   
where ever you are   
(softer)   
so I can drive a stake   
straight through your heart. 

SPIKE   
Yeh. Good call, mate.   
That'll draw her out. 

XANDER   
I was quiet! 

SPIKE   
Are you daft?   
She's got supernatural   
hearing. 

XANDER   
Ahh… 

SPIKE   
Gets better with age.   
Not that it matters.   
She's gone. 

XANDER   
I can see that by the   
lack of her being here.   
(pause)   
So where'd she go? 

SPIKE   
Your guess is as good   
as mine. Dru's not   
what you'd call   
predictable… 

VAMPIRE   
(O.S.)   
I should say not. 

REVERSE ANGLE. Behind Xander and Spike wait THREE VAMPS. 

INT. BURNED OUT BUILDING – NIGHT 

Much like the warehouse, the inside of the building (Fill N' Fly, was it?) is vacuous, devoid of anything that might make it a place of life, of living. Shelves stocked with convenience store type goods – potato chips, candy bars, cartons of cigarettes – aren't toppled over and covered in dust, they're simply gone. A TABLE – old, dirty chestnut with cigarette burns – an array of mismatched CHAIRS (array, in this case, being four), and a moldy SOFA of questionable comfort and mold factor are now the only objects in the building. 

SQUATTERS have refurbished the place. To the best of their ability. They're long-since gone however. 

In the shadows to the back of the room stands DRUSILLA. She's perfectly still – a mannequin, with the pale skin to match. 

REVERSE ANGLE on the door, which is thrown open, and in comes BUFFY, pushing DAWN in front of her. 

Dawn stumbles, doesn't fall, but lets out a grunt. This draws Drusilla out of the dark. 

BUFFY   
Mommy. 

It's a tainted, dark version of her gut-wrenching query in "The Body". 

INT. DORM ROOM – NIGHT 

The spell has begun. ANYA watches silently in the background – silently, aside from her munching on one of the sandwiches she brought earlier. We take in the seen from her P.O.V. 

Between WILLOW and TARA, who sit facing one another on the floor, is a bowl – very witch-like, mystical print – and several candles. SMOKE rises from the bowl, but doesn't dissipate – it SWIRLS around them, making LOOPS and TWISTS about their heads. 

We don't actually get to see much of the spell. 

WILLOW/TARA   
Show us the way. 

CUT TO: INT. BURNED OUT BUILDING – NIGHT 

BUFFY now stands behind DAWN. Rests her chin on her sister's shoulder. Grasps her hand by the wrist, draws it up to her face – Dawn's face, that is. Guiding the girl's hand, caresses the cheek. Buffy then darts her head to the other side of Dawn, rests it on that shoulder. 

BUFFY   
(dreamy)   
Flesh. Blood.   
Ours. 

DRUSILLA   
Family.   
Goldilocks and her   
sister. Together you   
could slay those naughty   
bears. 

DAWN   
(a tear flows down her cheek)   
Buffy… are you even   
in there? This can't   
be you. 

DRUSILLA   
She's in there, it's   
in there, they dance,   
in the dark of the   
chasm. 

DAWN   
What are you doing? 

It's a question in general. Dru answers first. 

DRUSILLA   
Pushing forward.   
Your sister is   
giving you a gift. 

DAWN   
I don't want it. 

DRUSILLA   
Shh. Poor girl.   
You'll come to love it as   
much as it loves you. 

DAWN   
You're insane. 

DRUSILLA   
Keeps me whole.   
(to Buffy)   
Do you feel love?   
Do you know it? 

BUFFY   
I. Feel. Something. 

She caresses her sister's face again, this time with her own hand. The other is around Dawn's hip. 

BUFFY   
We'll be family still...   
And nothing will hurt you,   
nothing can hurt you.   
I feel... 

DRUSILLA   
She'll feel everything.   
Soon. You'll experience   
everything together.   
(re: Dawn)   
Love is her Gift. 

In this instant we are reminded of the First Slayer/Guide in "Intervention", her claim that "Death is your Gift". And we actually hear it. It comes as Dru utters her very next line, to Buffy this time. 

DRUSILLA FIRST SLAYER   
(V.O.) (V.O.)   
Love is your Gift. Death is your Gift. 

They're in tandum, nearly the same tone, voices just able to be distinguished from one another, and only the first words – Love/Death – overlap and seem to dual with each other. 

CLOSE ON BUFFY – Her eyes flicker a moment. Open/Close, open/close. 

INT. WAREHOUSE – NIGHT 

Back with SPIKE and XANDER and the undead trio. 

LEAD VAMPIRE   
The pretty dark haired girl   
said there'd be a feast here   
tonight… 

SECOND VAMPIRE   
Yeah, and we were like,   
"what, in some musty   
warehouse? Riiight…" 

LEAD VAMPIRE   
Cept, somehow I just   
knew… she was telling   
the truth. Something about   
her. And here you are. 

SPIKE   
Right. Here we are. 

Vamps two and three put on their happy faces. A.K.A. MORPH INTO VAMP FACES. 

SPIKE   
Something the pretty   
dark haired girl forgot   
to mention. 

Spike does the same – vamps up. 

SPIKE   
I'm not all that appetizing. 

With a YELL, Spike now charges the three of them. BOWLS ONE OVER with a hard shove – LEAD VAMPIRE, then SWINGS HIS FIST SIDEWAYS AND HITS VAMPIRE #3. Number three's head SNAPS BACK, his NOSE IS BLOODIED. But Vampire #2 grabs Spike's arms from behind, and the lead vampire is back on his feet. 

ON XANDER. Pulls out a stake. Pretty deadly looking for the "normal guy". 

XANDER   
When in Rome...   
make like the locals. 

And with a yell of his own, Xander CHARGES INTO THE FRAY. 

BLACK OUT 

The last thing we hear as we BLACK OUT is the sigh of a vampire dusting. 

**END OF ACT THREE**


	5. Act Four

* * *

**ACT FOUR**

EXT. WAREHOUSE – NIGHT 

The exterior of the warehouse looks, well… like it's some old warehouse. Brick. Has walls. Probably a door someplace. Someplace we should be seeing, since it BURSTS OPEN, HITS THE WALL, and out comes XANDER – stake in hand, doubled over. He tosses a look back over his shoulder. In front of him lies the parking lot. 

At nearly the same time, a familiar RED CONVERTIBLE drives into the picture. Screeches to a halt. GILES' CAR – driven by WILLOW. TARA is next to her, ANYA in the backseat. 

ON THE CAR – occupants exiting. 

WILLOW   
(re: Anya)   
See? Much better than   
when you drove. 

ANYA   
Barely. I'd be   
seasick – if at sea.   
(re: Xander)   
Xander! 

XANDER   
An! Will.   
Giles?   
Giles' car. You   
stole Giles' car? 

WILLOW   
Not stole. Borrowed. 

TARA   
He gave us the keys   
before he left. Said   
we could, you know,   
use it if the need arose… 

WILLOW   
I'd say it arose. 

SPIKE now stumbles out of the doorway, gash on his shoulder. 

SPIKE   
Red. 

WILLOW   
Yeah? 

SPIKE   
Car. Red car.   
(catching his breath, then   
re: Xander)   
Ok. For the record – next   
time we team up,   
watch where you bloody   
well swing. Ponce. 

XANDER   
Said I was sorry. 

SPIKE   
So we got wheels.   
Hit a snag – no Drusilla. 

TARA   
We found Buffy. 

SPIKE   
Where at? 

ANYA   
Outskirts of town.   
Willow can track her. 

SPIKE   
Well. One for two ain't   
bad. 

XANDER   
Let's roll. 

SPIKE   
Let's roll? 

XANDER   
I just felt the need   
to say it. 

INT. GILES' CAR – NIGHT 

XANDER at the wheel, WILLOW next to him. SPIKE looks somewhat uncomfortable between ANYA and TARA. 

SPIKE   
Why's the whelp driving? 

XANDER   
You said your arm   
was sore. 

SPIKE   
You sure you know where   
we're going? 

ANYA   
Directional spell. 

TARA   
It'll allow   
Willow to sense Buffy   
for about the next hour.   
She's kinda like… a big   
compass now. Except   
instead of North- 

SPIKE   
She'll always point   
to Buffy. 

Tara nods. 

XANDER   
(calling back over   
the drivers seat)   
So what's the story?   
Find them, charge the place?   
Ass whuppings all around   
at the hands of a super-strong,   
vamped up Slayer? 

WILLOW   
We can't harm Buffy.   
We just need to separate   
Dawn… 

SPIKE   
If there's still   
a Dawn to separate… 

Off their looks. 

SPIKE   
Bout time you considered   
the fact that Buffy's   
not in control – the   
demon is. It's been out   
having a hell of a romp,   
and there's no guarantee… 

ANYA   
But so long as you get Buffy. 

SPIKE   
I happen to like Dawn.   
More than like. Care for.   
Somethin' bout Summers   
women – they don't put on airs.   
Sides, the girls got courage.   
And I owe her. 

Peers up at the speedometer. 

SPIKE   
Step on it, you're   
not drivin' Miss Daisy. 

XANDER   
Spike – make that   
bold step into 1999   
and drop the tired   
jokes. We're going   
fast as we can without   
careening off the   
road in a horrible crash,   
which we can do if   
you'd really like,   
but it won't do   
Dawn or Buffy any   
good. 

SPIKE   
Just hurry. 

INT. BURNED OUT BUILDING – NIGHT 

Back at the BOB (isn't that catchy? I thought so). DAWN is now strapped to the table. BUFFY'S in a chair, legs drawn up to her chin. She's rocking gently. DRUSILLA is preparing a ritual – she has a VIAL OF BLOOD FROM THE CYNAID in one hand, a VIAL OF HOLY WATER in the other. 

ON DRUSILLA. Pops the cork. Pours the HOLY WATER over Dawn's forehead. The girl squirms. There isn't much leeway in the ropes however. 

DRUSILLA   
Still.   
There. All clean. 

DAWN   
Let me go. 

BUFFY   
Why can't I eat?   
Just a little.   
She looks ever so   
delectable. Hunger   
is consuming…   
(stops a minute)   
Do you think I'm   
too thin? 

DRUSILLA   
Soon. You'll drink.   
So will she. And we'll   
be a happy little   
family. In spite   
of my William. 

BUFFY   
Spike? He's fun.   
Can we have   
a game with him?   
He never let me finish,   
before. 

EXT. BURNED OUT BUILDING – NIGHT 

A nice wide view informs us that the gang has arrived. Car pulling in and all that. 

INT. BURNED OUT BUILDING – NIGHT 

Back with DRU, BUFFY, and DAWN. We pick up the conversation pretty much where we left off. 

DRUSILLA   
Now watch, Elizabeth.   
The next of your kind.   
Your kin. Isn't she   
darling? Men will   
loose their heads over   
her. 

Drusilla then POURS THE BLOOD OF THE CYNAID OVER DAWN. Dawn, for her part, struggles some more, but again, it's hopeless. 

DRUSILLA   
Bathed in power.   
(then, carrying something of a tune,   
and it's not spell-related but insanity)   
Four & Twenty Blackbirds. 

DAWN   
Please… 

Last minute pleading never hurts. 

DRUSILLA   
You'll wake up soon.   
A new girl. 

She bends over Dawn and SINKS HER TEETH INTO THE GIRL'S THROAT. Drinks deep. Holds her gently. When she's too weak to move, Dru undoes the cords tying her down. Dawn lies on the table – alive, but barely. She then brings a small ornate knife out of the folds of her dress, and draws it across her wrist. 

CLOSE ON Drusilla's wrist, held over Dawn's lips. Blood trickles down, drips over the mouth of the young girl, and she inadvertently swallows. Spits a bit in a vein attempt to prevent the inevitable, then, having had a taste, clamps on to Dru's arm and drinks deep. 

WIDEN to take in the whole scene. It seems somehow perverse. 

DRUSILLA   
(near-whisper)   
Family. 

It always was ever so important to her. 

SMASH CUT TO: 

One of the windows, and my are they grand as far an entrances go today. This one (it's boarded, mind you, and the glass itself has long since departed) SPLINTERS INWARDS, and through it comes SPIKE – a rather risky move on his part, all things wooden and sharp considered – followed by XANDER. 

XANDER   
(seeing Dawn on the table)   
Dawnie! 

ANGLE ON DRUSILLA and BUFFY, who both let out a hiss. 

Back to Spike and Xander, and the women have now filled in behind them, Willow and Tara flanking, Anya holding up the rear. 

DRUSILLA   
(admonishingly)   
Naughty children.   
Interrupting us. You   
needn't be so rude.   
We mean to share... 

SPIKE   
'Nuff with the games, Dru.   
No more. Give over.   
I know you've got the   
cure for all this. 

DRUSILLA   
Cure? There's no cure   
for this disease before me.   
Nothing to save you from   
yourself. You really want   
to play the hero... why,   
Spike? What didn't you   
have, before? 

SPIKE   
(re: Buffy)   
Her. 

Drusilla HOWLS in response, and Spike launches himself at her. She draws blood, but from her dress he draws what they need – a vial, yellowish, presumably the antidote. 

As this happens, Tara breaks out the magic works. Focusing on Buffy, she utters a sole command. 

TARA   
Restrain. 

Lo and behold, Buffy is stuck in place, taken out of the action for the time being. Dru and Spike, however, are between the languishing Dawn and the Scoobies. 

WILLOW   
Spike!   
(catches his attention)   
I think... I think   
Dawn drank. 

Her voice is cracking, face terrified. 

ON DAWN – On the table. She's still conscious. 

ANYA   
Is there enough for both? 

Her question goes unanswered. 

Bleeding from the cheek where the sharp nails of Drusilla have opened a wound, he twists open the top, drops in the hair from his pocket, recaps and shakes. Serve chilled with fish or fowl. He gives the vial to Xander, and must then return to fending off Dru. 

SPIKE   
(to Xander)   
Give it to the bit. 

XANDER   
You mixed it with Buffy's- 

SPIKE   
GIVE IT TO DAWN! 

As he fights Dru, we're treated to a voice-over, and it's of Spike himself, back in "The Gift". 

SPIKE   
(V.O.)   
It's always about Blood. 

SPIKE   
(holding off Dru from the others, and seeing 

Xander still frozen)   
GIVE IT TO HER! 

And finally Xander snaps out of it and comes through. Only Dru and Spike are still between the Scoobies and Dawn. 

XANDER   
Dawn! Head's up! 

Xander TOSSES the antidote to Dawn, who catches it – barely. 

XANDER   
Drink! 

She's just aware enough to drink. Her body SURGES on the table, rife with pain for a moment. A moment later she seems much more vibrant. Rolls off the table and onto her feet. 

Spike and Dru remain at a stalemate. 

Instead of tears or the expected fifteen-year-old girl/damsel in distress look of well... distress, she's all determination. She faces Buffy, stares her down, but it's not defiance, but love that glows in her eyes. 

ON Buffy, and at this moment we hear both the First Slayer and Drusilla again, though we don't see the First Slayer at all, and Dru never parts her lips. 

FIRST SLAYER/DRUSILLA   
(V.O.)   
Love is your Gift. 

It comes as a single line, they're identical this time. 

Then the first Slayer alone. 

FIRST SLAYER   
You're full of love. 

Buffy's eyes flicker again, but she is still retrained. Until: 

TARA   
Release. 

The wall comes down, and she lunges at Dawn – who stands her ground. The older sister drinks from the younger, then, but it's not exactly violent. It's an embrace. 

Dru manages to get the upper hand a moment, and tosses Spike aside. She retreats, as far back from the gang as possible. 

ON XANDER, who yells, but Spike restrains him when he tries to rush the girls. 

SPIKE   
No. 

XANDER   
(desperate)   
She'll kill her. 

SPIKE   
She won't. 

ANYA   
She's healing. 

It seems Anya has caught on long before her fiancée. 

ANGLE ON BUFFY and DAWN – the elder Summers sister (as far as mortal years are concerned) releases the younger from her grasp. Willow rushes to their aid, Spike and Xander hover just behind her, Tara and Anya hang back, giving them some space. 

ANGLE DOWN, on the lot of them. Dru has, amongst the commotion, made her exit. The rest are circled around the table. 

WILLOW   
(note of concern – major concern)   
Buffy...? 

It's something of a question. Buffy and Dawn are now slumped over the table, holding each other. 

BUFFY   
Will? What ha-   
(she remembers something)   
Dawn. 

DAWN   
(smiles)   
Right here. 

She runs a finger along the gash in her neck. Not a gash, really, but two small puncture wounds. She collects a dab of blood on her fingers, and holds them between the two of them, the others looking on. 

ANGLE ON DAWN AND BUFFY, and Dawn's fingers, which are the focus of the shot. 

DAWN   
Summers' blood. 

FADE OUT 

INT. SUMMER'S RESIDENCE – NIGHT 

BUFFY rests on the couch in the living room, wrapped in some blankets, looking more snug than ill, though there's little doubt that she's winded from her ordeal. With her are TARA, WILLOW, and DAWN. Dawn, herself having seen better days, rests her head in Buffy's lap. 

ANGLE on the kitchen, from which enters ANYA, carrying STEAMING BOWLS OF CHICKEN SOUP. Chicken. It MUST be CHICKEN! 

ANYA   
(all smiles)   
Here!   
(offering bowls)   
I come bearing chicken soup.   
They say it's good when you're   
sick. I suppose it'll work   
with slight cases of   
death as well.   
At least until Xander   
gets back from the all   
night pharmacy with   
the painkillers. 

DAWN   
(taking a bowl, and quietly)   
Thanks Anya. 

Buffy for her part mumbles some thanks, takes a spoonful – and manages to slop most of it onto her cocoon of blankets. She pouts. 

BUFFY   
Ugh. No fun.   
This is definitely no fun. 

DAWN   
Slob. 

BUFFY   
Yeah? Well if I'm a slob   
then you're... the slob's   
sister.   
(off blank stares)   
I'm really off my game   
tonight.   
Where's Spike? 

WILLOW   
No idea. None   
whatsoever. I think   
he took off. 

She's a horrible liar. 

TARA   
He... felt it would be best   
if he wasn't around you for   
a bit. While you mended... 

BUFFY   
Why? Because his   
psycho ex turned   
me into an uber-vamp?   
(laughs)   
Please. Like I'd be   
so petty. Drusilla is 

insane. It's not like   
we didn't already know...   
I mean, what kind of   
person would I be   
to hold that against   
Spike... 

SPIKE   
(Off Screen)   
Glad you're so   
amicable pet.   
Dawn, you good? 

Spike walks over to the younger girl, and pets her hair back gently. She peers up at him, smiles – there's still a bit of a crush there. 

DAWN   
I'm good. 

BUFFY   
(re: Spike)   
I knew you were hiding. 

SPIKE   
Like I'd really let you   
out of my sight luv.   
Just wanted to let   
you calm. 

BUFFY   
Don't worry.   
I'll be plenty calm –   
when I'm kicking your ass! 

Buffy SPRINGS forth off the couch, dropping the blankets, and tackles Spike, hitting him, but it's light-hearted, she's not really into it. They drop to the ground, wrestling a bit. The others just watch them go at it, Dawn with a sly smile. 

BUFFY   
You are so dead. 

SPIKE   
What else is new. 

He flees from the room, and the Slayer gives chase. CUT TO: 

INT. XANDER'S APARTMENT – NIGHT 

Open on XANDER and ANYA. In the bedroom, getting ready for bed. Changing, yawning, looking busy. Idle hands do the devil's work, idle actors are overpaid. 

We're coming in on a conversation in progress. 

XANDER   
She hit him with a toilet brush? 

ANYA   
Uh-huh. 

XANDER   
And he took it? 

ANYA   
I think he felt kind of bad   
about the whole   
vamping thing. 

XANDER   
And I missed it.   
I hate being the guy   
who gets stuff. 

ANYA   
Well you're the only   
one with their   
own car. Such is   
the price of success. 

XANDER   
A car is only a sign   
of success when it has   
less than twelve years   
of rust. 

ANYA   
Yes honey. 

She kisses him and flops into bed. 

ANGLE ON the night table, and the clock. It STILL SAYS 7:30. 

Xander notices this. Hits it on the top in an attempt to fix it – it's the American way. 

Nothing. 

ANYA   
Xander? 

XANDER   
Clock's busted. 

He peers behind the table. 

XANDER   
Wait. No, just unplugged.   
Wonder why the numbers   
stuck. Must be a battery   
backup or something. 

ANYA   
(sleepy)   
Great backup, didn't work. 

Xander plugs it back in. 

The numbers flicker. Then they start to FLASH BY. 7:30 – 3:65 – 0:00 – 5:01 – 6:22 – 1:30. These are the only numbers we see, there are others that flash by too quickly. It sticks on 1:30. Blinking. 

XANDER   
(puzzled)   
Huh. 

Hits the SET button or whatnot. Sets in the real time – 4:22. 

ANYA   
You're making me restless.   
Sleep already. 

Xander climbs into bed, leans over, and kisses Anya. Settles in for the night. 

XANDER   
Love you. 

ANGLE ON the clock. 4:22. Xander can be seen to the side, in the background. It FLICKERS again for a moment. 1:30 – 0:00 – 4:22. Remains on 4:22. 

BLACK OUT 

**END OF SHOW**


End file.
